Alejandro Escovedo
Bourbonitis Blues

Itís hard to believe that an album that grew out of a recording session that was meant
to produce a single song (a cover of Mick JaggerísEvening Gown for a Bloodshot Recordsí
anniversary compilation) and contains only three, new original
compositions (there are also five cover tunes and one re-worked selection) could possibly be
this strong. However, such is the case with Alejandro Escovedoís latest effort Bourbonitis Blues,
and itís truly a testament to Escovedoís talent that he was able to pull this feat off in such a
seamless fashion.

In crafting Bourbonitis Blues, Escovedo revamped his own song Guilty, fitting it with a
Rolling Stones-fueled groove that pushes it far beyond the folk-rock boundaries of the original
recording. The new songs Everybody Loves Me and Sacramento & Polk churn through a wall
of raging guitars and powerful drum beats, with the former being reminiscent of Morphine and the
latter blending a rousing post-punk rage with a swirl of psychedelic energy.

In addition, Escovedo tackled songs from Gun Club, Jimmie Rodgers, John Cale, the
Velvet Underground, and Ian Hunter with pristine accuracy. He managed not only to capture the
original artistsí intentions, but also to bring his own perspective to the table. On Caleís
Amsterdam, the loneliness in Escovedoís voice is enhanced by the tearful strains of Brian
Standeferís cello accompaniment. Likewise, The Velvet UndergroundísPale Blue Eyes is given a
stark and gentle treatment that dreamily floats on a bed of acoustic guitar, cello, and the flawless
vocal pairing of Escovedo and Kelly Hogan.

At less than 40 minutes in length, Bourbonitis Blues is short by todayís
standards of bloated albums, but rather than over-filling this release, Escovedo emphasizes quality
over quantity. The result is a raw and spontaneous-sounding effort that captures Escovedo at his
best.